David Rosand contended that removing this work's most prominent architectural feature greatly accentuates its asymmetrical composition. Parallel to the gaze of the Virgin a key rests diagonally against the white marble steps directly below Peter in blue and gold rainment. Peter forms a triangle with a silver gloved Saint Bernardino and Saint Francis in a blood red robe. At far left a knight appears with a turbaned Turk and a Moor in tow. Two massive, disproportional colu
David Rosand contended that removing this work's most prominent architectural feature greatly accentuates its asymmetrical composition. Parallel to the gaze of the Virgin a key rests diagonally against the white marble steps directly below Peter in blue and gold rainment. Peter forms a triangle with a silver gloved Saint Bernardino and Saint Francis in a blood red robe. At far left a knight appears with a turbaned Turk and a Moor in tow. Two massive, disproportional columns jut out from behind the Virgin and are directly behind two angels playing with a (*) cross on a diffusely painted dark cloud. Painted for Jacob, bishop of Paphos and contained in the Santa Maria Gloriosa dei Frari, for 10 points, name this altarpiece by Titian.
David Rosand contended that removing this work's most prominent architectural feature greatly accentuates its asymmetrical composition.
{Pesaro} Altarpiece or {Pesaro Madonna}